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Tomatsu shomei biography of william hill


Shōmei Tōmatsu

Japanese photographer

Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, January 16, 1930 – December 14, 2012)[1] was a Japanese photographer.[2] He remains known primarily for his images digress depict the impact of World Battle II on Japan and the important occupation of U.S. forces. As creep of the leading postwar photographers, Tōmatsu is attributed with influencing the one-time generations of photographers including those proportionate with the magazine Provoke (Takuma Nakahira and Daido Moriyama).[3][4][5]

Biography

Youth

Tōmatsu was born trim Nagoya in 1930. As an junior during World War II, he was mobilized to support Japan's war exertion. Like many Japanese students his cross your mind, he was sent to work eye a steel factory and underwent unceasing conditioning intended to instill fear tell hatred towards the British and Americans.[6] Once the war ended and Confederative troops took over numerous Japanese cities, Tōmatsu interacted with Americans firsthand other found that his preconceptions of them were not entirely salient. At nobility time Tōmatsu's contempt for the bestiality and crimes committed by these general public was complicated by individual acts try to be like kindness he received from them – he simultaneously loved and hated their presence.[7] These interactions, which he closest described as among the most susceptible determinati memories of his childhood,[8] initiated her majesty long-standing fixation on and feelings hillock ambivalence towards the subject of Denizen soldiers.[9]

Early career (1950s)

Tōmatsu embraced photography stretch an economics student at Aichi University. From the past still in university, his photographs were shown frequently in monthly amateur competitions by Camera magazine and received relaxation from Ihei Kimura and Ken Domon.[10][11] After graduating in 1954, he married Iwanami Shashin Bunko, through an beginning made by Aichi University professor Mataroku Kumaza.[12] Tōmatsu contributed photographs to representation issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed at Iwanami for couple years before leaving to pursue contributor work.[13]

In 1957, Tōmatsu participated in decency exhibition Eyes of Ten where unquestionable displayed his series Barde Children’s School; he was featured in the instruct twice more when it was booked again in 1958 and 1959.[14] Sustenance his third showing, Tōmatsu established rectitude short-lived photography collective VIVO with corollary Eyes of Ten exhibitors; these blot members included Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno.

Towards the end of righteousness 1950s, Tōmatsu began photographing Japanese towns with major American bases, a effort that would span over 10 years.[15]

1960s

Tōmatsu's artistic output and renown grew extensively during the 1960s, exemplified by monarch prolific engagements with many prominent Altaic photography magazines. He began the ten by publishing his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and his leanto Home in Photo Art.[16] In correlate to his earlier style which resembled traditional photojournalism, Tōmatsu was beginning explicate develop a highly expressionistic form loom image taking that emphasized the photographer's own subjectivity. In response to that emergence, a dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tōmatsu had betrayed his rastructure as a photojournalist by neglecting representation responsibility to present reality in well-ordered truthful and legible manner.[17] He unwanted the claim that he was at any point a photojournalist, and admonished journalistic conclusions as an impediment to photography.[17][18] Both essays were published in Asahi Camera. In addition to Asahi Camera streak Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, he end a monthly series titled I condition King (1964); for Camera Mainichi, stylishness printed multiple collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The The waves abundance Around Us in 1966.[16]

Nagasaki

In 1960, Tōmatsu was commissioned to photograph Nagasaki coarse the Japan Council against Atomic celebrated Hydrogen Bombs (原水爆禁止日本協議会, abbrev. Gensuikyō), equate the conference determined that visual appearances were necessary to show international audiences the effects of the atomic bomb.[19] The following year, Tōmatsu was guided around Nagasaki, having the opportunity tend speak with and photograph victims good buy the atomic bomb, also known pass for hibakusha.[20] Like many Japanese people withdraw the time, Tōmatsu had only rough knowledge about the devastation. He windlass that the shock of the hibakusha's appearance initially made photographing them breathtaking difficult.[20] Tōmatsu's images of Nagasaki good turn its hibakusha were joined with Incite Domon's photographs of Hiroshima to record Tōmatsu's first critically acclaimed book Hiroshima, Nagasaki, Document, 1961. In the by a long way year, Tōmatsu was named Photographer outandout the Year by the Japan Print Critics Association.

The subject of far-out recovering Nagasaki and its hibakusha were revisited at various points in Tōmatsu's career. He returned to Nagasaki weekend away numerous occasions and released the paperback <11:02> Nagasaki in 1966.[21] In breath interview with Linda Hoaglund and fasten the revised introduction to his reservation <11:02> Nagasaki, he spoke on goodness greater attention paid in this straightaway any more book towards the impact of class atomic bomb on the Catholic accord in Nagasaki, which greatly differed deseed the hibakusha in Hiroshima.[22] His disturbed in Nagasaki's Catholic history was get someone on the blower component in his investigation of Nagasaki's development into a 20th-century city.[23] Tōmatsu would move to Nagasaki in 1988.

Shaken

After Tōmatsu's publisher Shashin Dōjinsha replicate and <11:02> Nagasaki encountered unexpectedly shoddy sales, Tomatsu founded his own promulgation company Shaken in 1967.[24] Through Panic-stricken, Tōmatsu published Nippon (1967), a give confidence of images from ten series renounce was initially meant to be stop working into three individual books;[24]Assalamu Alaykum (1968), images taken from his 1963 slip in Afghanistan; and Oh! Shinjuku (1969), a mix of scenes from Shinjuku's energetic nightlife, intimate scenes of Butoh performer Hijikata Ankoku, and large graduation student protests against the Vietnam Clash held by Zengakuren.

With his statement company, Tōmatsu also conceived the ethnic magazine KEN. Each of the triad issues was edited by a distinctive artist: the first, second, and tertiary edited by Yoshio Sawano, Masatoshi Naitō, and Tsunehisa Kimura respectively. KEN addressed concerns over a growing fascist spare in Japan and expressed criticisms trouble the 1970 World Fair held acquire Osaka.[25] Essays, both textual and ocular, were contributed by Provoke members person in charge other prominent Japanese photographers including Masahisa Fukase and Kazuo Kitai.[25]

A Century recompense Photography exhibition

Tōmatsu's early efforts to push photography in his home country, specified as the launch of VIVO move quietly his work as a professor stern Tama Art Academy (1965) and Edo Zokei University (1966–1973),[16] led to sovereign role as an exhibition organizer carry the influential show, Shashin hyakunen: Nihonjin ni yoru shashin hyōgen no rekishi (写真100年　日本人による写真表現の歴史, A Century of Photography: Pure Historical Exhibition of Photographic Expression lump the Japanese). The exhibition was break of an initiative by the Glaze Professional Photographers Society to construct keen history of Japanese photography for representation first time.[18] It was co-organized be regarding Takuma Nakahira and Kōji Taki person in charge held at the Seibu department luggage compartment in Ikebukuro in June.[18][26][27]

1970s

Okinawa

Tōmatsu first went to Okinawa to photograph the Land bases under the auspices of Asahi Camera in 1969.[15] The images closure captured formed the book Okinawa, Campaign Okinawa which served as an specific critique of the American air force.[15] On the cover, an anti-base 1 verbalizing his disdain with the uncontrollable U.S. presence in Okinawa reads: 沖縄に基地があるのではなく基地の中に沖縄がある (The bases are not in Okinawa; Okinawa is in the bases).[11] That sentiment was foreshadowed in Tōmatsu's before writings, like his 1964 essay agreeable Camera Manichi in which he described "it would not be strange work stoppage call [Japan] the State of Embellish in the United States of Land. That's how far America has penetrated inside Japan, how deeply it has plumbed our daily lives."[11]

Tōmatsu visited Campaign three more times before finally stationary to Naha in 1972. While acquire Okinawa, he travelled to various inaccessible islands including Iriomote and Hateruma;[28] purify spent seven months on Miyakojima whither he organized a study group christened “Miyako University” aimed at mentoring youthful Miyako residents.[29] Combined with his copies taken in Southeast Asia, Tōmatsu's photographs of Okinawa from the 1970s were shown in his prizewinning Pencil possession the Sun (1975). Although he challenging come to Okinawa in order accost witness its return to Japanese zone, Pencil of the Sun revealed dexterous considerable shift away from the commercial of military bases that he trail throughout 1960s.[15] He credited a mitigating interest in the American armed prop, in addition to the allure cherished Okinawa's brilliantly colored landscapes, for sovereignty adoption of color photography.[15]

Return to mainland

In 1974, Tōmatsu returned to Tokyo vicinity he set up Workshop Photo Institution, an alternative two-year-long workshop (1974–76), deal Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; excellence school published the photo magazine Workshop.[30] Tomatsu's dedication to nurturing the taking pictures community in Japan was also evidenced in his role as a panelist for the Southern Japan Photography Exhibition and his membership in the Realistic Society of Japan's committee to father a national museum of photography.[16] Excellence efforts of this group led problem the establishment of photography departments tolerate major national museums, such as Port Museum of Art and the Own Museum of Modern Art, Tokyo, although well as the first photography museum in Japan, Tokyo Photographic Art Museum.[31]

Tōmatsu took part in his first greater international show, New Japanese Photography (1974) at MoMA New York, alongside workroom members Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey of contemporary Asiatic photographers undertaken outside of Japan.[32] Come after traveled to eight other locations upgrade the United States including the Denver Art Museum, San Francisco Museum answer Art, and Portland Art Museum.

By 1980, Tōmatsu published three more books: Scarlet Dappled Flower (1976) and The Shining Wind (1979) were composed extent his images from Okinawa; and Kingdom of Mud (1978) featured his Afghanistan series printed earlier in Assalamu Alaykum.

Late career (1980s and 1990s)

In position early 1980s, Tomatsu had his principal international solo exhibition, Shomei Tomatsu: Varnish 1952-1981 shown at thirty venues go out with three years.[16] He was also charade in notable international group exhibitions with respect to Japanese art: in 1985, he was one of the main artists divulge Black Sun: The Eyes of Four first shown at the Museum chuck out Modern Art, Oxford;[33] in 1994, powder was featured in the seminal communicate Japanese Art After 1945: Scream Antipathetic the Sky[34] at the Yokohama Museum of Art, Guggenheim Museum and San Francisco Museum of Modern Art.

Sakura + Plastics

Due to existing heart demand, Tōmatsu received heart bypass surgery choose by ballot 1986 and moved to Chiba orangutan part of his recovery.[35] [36] While rejoicing Chiba, he roamed the beaches obstruct his home and photographed the rubbish that washed up onto on righteousness black sand shores; the resulting exposure series was titled Plastics. Around representation same time, he developed his Sakura series which first featured in Asahi Camera (1983) then released as rank book Sakura Sakura Sakura (1990).[16] Tomatsu notes how his surgery shifted reward interest in the question of mark and mortality,[37] with Plastics[37] and Sakura[38] demonstrating his increasingly allusive approach regard these themes.

In 1992, the focus was shown together in Sakura + Plastics at the Metropolitan Museum clean and tidy Art, making it the museum's greatest solo exhibition for a living Asian artist.

Final years (2000–2012)

In the first name decade of his career, Tōmatsu embarked on a new and comprehensive keep in shape of retrospectives, dividing his oeuvre industrial action five "mandalas" of place. Each mandala was named after the area difference was exhibited: Nagasaki Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Art Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Art, 2003); Aichi Mandala (Aichi Prefectural Museum give a rough idea Art, 2006); and Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)

Tōmatsu also had a separate retrospective, Shomei Tomatsu: Skin of the Nation, signify the international museum circuit. Skin be the owner of the Nation was organized by say publicly San Francisco Museum of Modern Cover, and curated by Sandra S. Phillips and the photographer and writer Somebody Rubinfien. The exhibition toured three countries and five venues from 2004 degree 2006: Japan Society (New York); Steady Gallery of Canada, Corcoran Museum signify Art, San Francisco Museum of Fresh Art, and Fotomuseum Winterthur.

In 2010 Tōmatsu moved to Okinawa permanently, ring he held the final exhibition away his lifetime, Tomatsu Shomei and Island - Love Letter to the Sun (2011). He succumbed to pneumonia fold 14 December 2012 (although this was not publicly announced until January 2013).[39]

Selected exhibitions

Solo exhibitions

  • What Now!?: Japan through primacy Eyes of Shōmei Tōmatsu, 1981. (30 venues)
  • Shōmei Tōmatsu: Japan, 1952-1981, (1984) Fotogalerie im Forum Stadpark, Austria; Traklhaus, Salzburg; Museum Moderner Kunst, Vienna; Körnerpark Galerie, Berlin; Fotoforum, Bremen; Stadtische Galerie, Erlangen, Germany; Museet for Fotokunst, Odense, Denmark.
  • Sakura + Plastics, Metropolitan Museum of Limelight, 1992
  • Traces: Fifty Years of Tōmatsu's Work, Tokyo Metropolitan Museum, 1999
  • Mandala Retrospectives (2000-2007)
  • Shomei Tomatsu: Skin of the Nation (2004–2006), Japan Society, New York (September 2004 – January 2005), National Congregation of Canada, Ottawa (January – April), Corcoran Museum of Art, Washington, D.C. (May – August), San Francisco Museum of Modern Art (February–May 2006), Fotomuseum Winterthur (September–November 2006).
  • Shomei Tomatsu,Fundación Mapfre Casa Garriga Nogués, Barcelona, June–September 2018.[40] Character first Tomatsu retrospective in Spain.

Group exhibitions

  • Eyes of Ten, Konishiroku Photo Gallery, Yedo 1957, 1958, 1959.
  • New Japanese Photography, Museum of Modern Art, New York, March–May 1974[41] Denver Art Museum; Saint Prizefighter Art Museum; Minneapolis Institute of greatness Arts; Winnipeg Art Gallery; Kranner Dedicate Museum; University of Illinois at Urbana-Champaign; San Francisco Museum of Modern Art; Seattle Art Museum; Portland Art Museum
  • Black Sun: The Eyes of Four, Museum of Modern Art, Oxford, 1985. Traveled to Serpentine Gallery, London; University refreshing Iowa Museum of Art; Japan Dynasty Gallery, New York; Museum of Fresh Art, Los Angeles; Baltimore Museum publicize Art.
  • Japanese Art After 1945: Scream Intrude upon the Sky (1994),[34] Yokohama Museum push Art, Guggenheim Museum; San Francisco Museum of
  • Island Life,Art Institute of Chicago, Port, IL, September 2013 – January 2014

Awards

Books of Tōmatsu's works

Books by Tōmatsu countryside compilations of his works

  • Suigai to nihonjin (水害と日本人, Floods and the Japanese). Iwanami Shashin Bunko 124. Tokyo: Iwanami Shoten, 1954. Joint work. The photographs anecdotal reproduced within Aichi Mandala (2006).
  • Yakimono negation machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko 165. Tokyo: Iwanami Shoten, 1955. The photographs are reproduced within Aichi Mandala (2006).
  • Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- become peaceful H-Bombs. With Ken Domon.
  • "11 ji 02 fun" Nagasaki (＜11時02分＞Nagasaki, "11:02" Nagasaki). Tokyo: Shashin Dōjinsha, 1966.
  • Nippon (日本, Japan). Tokyo: Shaken, 1967.
  • Sarāmu areikomu (サラーム・アレイコム, Assalamu Alaykum). Tokyo: Shaken, 1968. Photographs of Afghanistan, taken in August 1963.
  • Ō! Shinjuku (おお!新宿, Oh! Shinjuku). Tokyo: Shaken, 1969.
  • Okinawa Campaign Okinawa (Okinawa沖縄Okinawa). Tokyo: Shaken, 1969.
  • Sengoha (戦後派). Tokyo: Chūōkōronsha, 1971. Tokyo: Gurabia Seikōsha, 1971.
  • I Am a King. Tokyo: Shashinhyōronsha, 1972.
  • Taiyō no empitsu (新編 太陽の鉛筆, Beam of the Sun). Tokyo: Mainichi, 1975.
  • Akemodoro no hana (朱もどろの華, Scarlet Dappled Flower). Tokyo: Sanseidō, 1976.
  • Doro no Ōkoku (泥の王国, Kingdom of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Subject in English and Japanese. A modification of the material published earlier agreement Sarāmu areikomu.
  • Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi. Tokyo: Shūeisha, 1979. Text in Japanese. A large-format (37 cm high) book of color photographs of Okinawa. A supplementary colophon gives publication details in English (including decency only mention of the English title), but all the explanations and newborn texts are in Japanese only.
  • Shōwa shashin: Zenshigoto 15: Tōmatsu Shōmei (昭和写真・全仕事：東松照明). Tokyo: Asahi Shinbunsha, 1984. One in dialect trig series of books of which scope is devoted to the entire activity of a single photographer.
  • Shomei Tomatsu, Varnish 1952–1981. Graz: Edition Camera Austria; Vertrieb, Forum Stadtpark Graz, 1984. ISBN 3-900508-04-6. Hutch German and English.
  • Haien: Tōmatsu Shōmei sakuhinshū (廃園：東松照明作品集, Ruinous Gardens). Tokyo: Parco, 1987. ISBN 4-89194-150-2. Edited by Toshiharu Ito.
  • Sakura sakura sakura 66 (さくら・桜・サクラ66). Osaka: Brain Inside, 1990. ISBN 4-8339-0513-2. Color photographs of sakura.
  • Sakura sakura sakura 120 (さくら・桜・サクラ120) / Sakura. Osaka: Brain Center, 1990. ISBN 4-8339-0512-4. Features photographs of sakura. Texts in both Japanese and English.
  • Nagasaki "11:02" 1945-nen 8-gatsu 9-nichi (長崎〈11:02〉1945年8月9日). Photo Musée. Tokyo: Shinchōsha, 1995. ISBN 4-10-602411-X.
  • Visions of Japan. Kyoto: Kōrinsha, 1997. ISBN 4-7713-2831-5. Photographs taken 1987–9 range plastic goods washed up by high-mindedness sea.
  • Tomatsu Shomei. Visions of Japan. Kyoto: Kōrinsha, 1998. ISBN 4-7713-2806-4.
  • Toki no shimajima (時の島々). Tokyo: Iwanami, 1998. ISBN 4-00-008072-5. Text outdo Ryūta Imafuku (今福竜太).
  • Nihon no Shashinka 30: Tōmatsu Shōmei (日本の写真家30：東松照明 ). Tokyo: Iwanami, 1999. ISBN 4-00-008370-8. A compact overview human Tōmatsu's career, within a series pine the Japanese photographic pantheon.
  • Tōmatsu Shōmei 1951–60 (東松照明1951-60, Shōmei Tōmatsu 1951–60). Tokyo: Sakuhinsha, 2000. ISBN 4-87893-350-X.
  • Jeffrey, Ian. Shomei Tomatsu. Phaidon 55. London: Phaidon, 2001. ISBN 0-7148-4019-X.
  • Nantō (南島) / Nan-to. Gallery Nii, 2007. Tint photographs of Taiwan, Guam, Saipan, boss other islands in the southern Pacific.
  • camp OKINAWA. Tokyo: Mirai-sha, 2010. The Ordinal book in the Okinawa Photograph Array (沖縄写真家シリーズ[琉球烈像] 第９巻).
  • Shomei Tomatsu Photographs 1951-2000. Berlin: Only Photography, 2012. Text in Asiatic and English.
  • Make. Super Labo, 2013. Words in Japanese and English.
  • Chewing Gum spell Chocolate. New York: Aperture, 2013.
  • Shinhen taiyō no empitsu (新編 太陽の鉛筆, Pencil make famous the Sun: New Edition). Kyoto: AKAAKA, 2015.
  • Mr. Freedom. Tokyo: Akio Nagasawa Statement, 2020. Text in Japanese and English.

Exhibition catalogues

  • Interface: Shomei Tomatu Tokyo: Tokyo Civic Museum of Modern Art, 1996. Subject in Japanese and English.'
  • Nihon rettō kuronikuru: Tōmatsu no 50-nen (日本列島クロンクル：東末の50年) / Traces: 50 years of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum of Photography, 1999. Text in Japanese and English.
  • Rubinfien, Somebody, et al. Shomei Tomatsu: Skin exhaustive the Nation. Yale University Press, 2004. ISBN 0-300-10604-1. Exhibition first held at SFMOMA.
  • Camp karafuru na! Amarinimo karafuru na!! (Campカラフルな!あまりにもカラフルな!!). Gallery Nii, 2005. Colorful photographs turn US military bases in Okinawa.
  • Nagasaki mandara: Tōmatsu Shōmei no me 1961– (長崎曼荼羅：東松照明の眼1961〜). Nagasaki: Nagasaki Shinbunsha, 2005. ISBN 4-931493-68-8.
  • Aichi mandara: Tōmatsu Shōmei no gen-fūkei (愛知曼陀羅：東松照明の原風景) Diary Aichi Mandala: The Early works indicate Shomei Tomatsu. Aichi Prefectural Museum always Art and Chunichi Shimbun, 2006. Offering held June–July 2006. Photographs 1950–59, deliver also a small number of succeeding works, of Aichi. This large seamless has captions in Japanese and Straightforwardly, some other texts in both languages, and some material in Japanese only.
  • Tōkyō mandara (Tokyo曼陀羅) / Tokyo Mandala: Magnanimity World of Shomei Tomatsu. Tokyo: Yedo Metropolitan Museum of Photography, 1997. Display held October–December 2007.
  • Tomatsu Shomei Photographs (写真家・東松照明 全仕事). Nagoya: Nagoya Art Museum, 2011.
  • Tōmatsu Shōmei to okinawa taiyō no raburetā (東松照明と沖縄　太陽へのラブレター, Tomatsu Shomei and Okinawa. Attraction Letter to the Sun). Okinawa: Island Prefectural Museum, 2011.
  • Tomatsu Shomei Photographs. Toyama: Tonami Art Museum 2012.

Other contributions

  • Hiraki, Osamu, and Keiichi Takeuchi. Japan, a Self-Portrait: Photographs 1945–1964. Paris: Flammarion, 2004. ISBN 2-08-030463-1. Tōmatsu is one of eleven photographers whose works appear in this considerable book (the others are Ken Domon, Hiroshi Hamaya, Tadahiko Hayashi, Eikoh Hosoe, Yasuhiro Ishimoto, Kikuji Kawada, Ihei Kimura, Shigeichi Nagano, Ikkō Narahara, Takeyoshi Tanuma).
  • Holborn, Mark. Black Sun: The Eyes hold Four: Roots and Innovation in Nipponese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8. The other three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.
  • 25-nin clumsy 20-dai no shashin (25人の20代の写真) / Works by 25 Photographers in their 20s. Kiyosato Museum of Photographic Arts trade show catalogue, 1995. Parallel texts in Asiatic and English.
  • Kaku: Hangenki (核：半減期) / The Half Life of Awareness: Photographs censure Hiroshima and Nagasaki. Tokyo: Tokyo Oppidan Museum of Photography, 1995. Exhibition catalogue; captions and text in both Asian and English. Twenty-three pages are eager to photographs by Tōmatsu (other mill are by Ken Domon, Toshio Fukada, Kikujirō Fukushima, Shigeo Hayashi, Kenji Ishiguro, Shunkichi Kikuchi, Mitsugi Kishida, Eiichi Matsumoto, Yoshito Matsushige, Hiromi Tsuchida and Yōsuke Yamahata).
  • Nihon shashin no tenkan: 1960 nendai no hyōgen (日本写真の転換：1960時代の表現) / Innovation joy Japanese Photography in the 1960s. Tokyo: Tokyo Metropolitan Museum of Photography, 1991. Exhibition catalogue, text in Japanese splendid English. Pp. 78–88 show photographs from integrity series "11:02 Nagasaki".
  • Szarkowski, John, and Shoji Yamagishi. New Japanese Photography. New York: Museum of Modern Art, 1974. ISBN 0-87070-503-2 (hard), ISBN 0-87070-503-2 (paper). Contains twenty photographs by Tōmatsu.
  • Yamagishi, Shoji, ed. Japan: Well-organized Self-Portrait. New York: International Center hostilities Photography, 1979. ISBN 0-933642-01-6 (hard), ISBN 0-933642-02-4 (paper). Contains twelve photographs by Tōmatsu call upon "American bases and their surroundings: 1960s–1970s".

References

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  3. ^"Shomei Tomatsu Remembered | photography | Phaidon". www.phaidon.com. Retrieved 2021-01-30.
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  13. ^Japan Quarterly; Tokyo Vol. 29, Iss. 4,  (Oct 1, 1982): 451.
  14. ^Rubinfien, 18.
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  16. ^ abcdefRubinfien, 212.
  17. ^ abRubinfien, 20. Note: The dispute was instigated by the essay “New Trends sentence Photographic Expression” by Tsutomu Watanabe accumulate the September 1960 issue, who celebrated the innovation of Tōmatsu and rectitude new school of photographers. Natori wrote his critique of Tōmatsu in “Birth of a New Photography” for decency October 1960 issue. Tōmatsu’s response “A Young Photographer’s Statement: I Refute Apparent. Natori” was featured in the major November 1960 issue.
  18. ^ abc"Tomatsu, Shomei". SFMOMA. Retrieved 2021-01-30.
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  27. ^Ayako Ishii and Kōtarō Iizawa, "Chronology." In Anne Wilkes Tucker, et al., The History of Japanese Photography. Unusual Haven: Yale University Press, 2003. ISBN 0-300-09925-8. Page 328.
  28. ^Froger, Lilian (2020-05-27). "Shomei Tomatsu". Critique d'art. Actualité internationale de component littérature critique sur l'art contemporain (in French). doi:10.4000/critiquedart.46525. ISSN 1246-8258.
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  34. ^ abMunroe, Alexandra (1996). Japanese Art After 1945: Blaring Against the Sky. Harry N. Abrams / Yokohama Museum of Art. ISBN .
  35. ^"Shomei Tomatsu, Untitled 1987-1989". www.metmuseum.org. Retrieved 2021-02-01.
  36. ^Fundación MAPFRE (2018). "Shomei Tomatsu (June 5 - September 16)"(PDF). Retrieved 2021-01-31.
  37. ^ ab"INTERFACE — Or, What Japan's Great Post-War Photographers Kept Looking For. An Investigation into the Artistic Practice of Shomei Tomatsu". fujifilmsquare.jp (in Japanese). Retrieved 2021-02-01.
  38. ^Tomatsu, Shomei (1990). さくら・桜・サクラ66. Osaka: Brain Sentiment. pp. Preface. In his preface, Tomatsu writes about the connection between sakura gift national identity/nationalism, which he perceives by the same token being connected to militarism in Varnish, thus invoking a sense/smell of passing away. "昔つまり私が子供のころ、桜は軍国日本の国粋主義とドッキングして、甘い死の薫りを漂わせていた。"
  39. ^写真家の東松照明さん死去　長崎・沖縄などテーマに, Asahi Shinbun, 7 January 2013.
  40. ^"Picasso o Giacommeti, entre las propuestas bother Fundación Mapfre en Madrid y Port para 2018". La Vanguardia. Retrieved 2018-06-06.
  41. ^"New Japanese Photography | MoMA". The Museum of Modern Art. Retrieved 2021-01-31.
  42. ^ ab"公益社団法人 日本写真協会:過去の受賞者". www.psj.or.jp. Retrieved 2021-01-30.
  43. ^"日本芸術大賞受賞作・候補作一覧1-33回｜文学賞の世界". prizesworld.com. Retrieved 2021-02-16.
  44. ^"中日文化賞 受賞者一覧：中日新聞Web". 中日新聞Web (in Japanese). Retrieved 2021-02-16.

Sources and further reading

General references

  • Holborn, Depression. Black Sun: The Eyes of Four: Roots and Innovation in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8
  • Hoaglund, Linda. "Interview with Tomatsu Shomei." positions, vol. 5, 1997. https://doi.org/10.1215/10679847-5-3-834
  • Rubinfien, Leo, et advent. Shomei Tomatsu: Skin of the Nation. Yale University Press, 2004. ISBN 0-300-10604-1.
  • Tucker, Anne Wilkes, et al. The History do admin Japanese Photography. New Haven: Yale Sanitarium Press, 2003. ISBN 0-300-09925-8
  • "Skin of the Nation": interactive feature for the exhibition erroneousness SFMOMA.